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If <a href="spotify:artist:38h03gA85YYPeDPd9ER9rT">the O'Jays</a>, <a href="spotify:artist:2W8UTum7bU7ue6m0r14H97">the Dramatics</a>, or <a href="spotify:artist:7z1zaOeWiHpl4SD2N9ZBgk">Bloodstone</a> had added a female singer and incorporated bebop-influenced harmonies, they might have sounded something like Side Effect -- a distinctive soul and funk vocal quartet of the '70s and early '80s. Side Effect was never a big name in R&B -- and its material wasn't as consistently strong as that of <a href="spotify:artist:38h03gA85YYPeDPd9ER9rT">the O'Jays</a> -- but it did have a recognizable and appealing sound. The group was formed in Los Angeles in May 1972, when it started out as an all-male trio and consisted of Louis Patton, Gregory Matta, and leader Augie Johnson. The latter had been singing since childhood -- in fact, Johnson was among the kids who sang on <a href="spotify:artist:1Mxqyy3pSjf8kZZL4QVxS0">Frank Sinatra</a>'s 1959 hit "High Hopes." Side Effect became a quartet when, in 1974, Johnson, Patton, and Matta decided to add a female vocalist and hired L.A. native Sylvia Nabors. In 1975, Side Effect signed with Fantasy and recorded its self-titled debut album, which was, like subsequent efforts, produced by <a href="spotify:artist:55PU5eP7Ndxn5T3TvBdXZ2">Wayne Henderson</a> of <a href="spotify:artist:3Bhgbs9kIwl8SuU0eIqN6b">Crusaders</a> fame. By the time Side Effect recorded its second album, What You Need, in 1976, Nabors had been replaced by Helen Lowe. Then, in 1977, <a href="spotify:artist:6vSV6SDf1vteodhgV83AJ6">Lowe</a> was replaced by Sylvia St. James, who recorded with the group in 1977 and 1978. St. James' subsequent replacement was <a href="spotify:artist:7GTUAEg2QH41GgTmkIldjh">Miki Howard</a>, a talented singer who sang with the group for a few years before signing with Atlantic in 1986 and becoming well known as a solo artist. ~ Alex Henderson, Rovi
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